


Appendices A: Valar

by neverwondernever (thatgbppfrom10880MP)



Series: The War of Winter [2]
Category: TOLKIEN J. R. R. - Works & Related Fandoms, The Silmarillion and other histories of Middle-Earth - J. R. R. Tolkien
Genre: Alternate Universe, Alternate Universe - Canon Divergence, Folklore, Mythology - Freeform
Language: English
Status: In-Progress
Published: 2016-02-26
Updated: 2016-04-12
Packaged: 2018-05-23 07:46:30
Rating: Not Rated
Warnings: Creator Chose Not To Use Archive Warnings
Chapters: 13
Words: 18,282
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/6109903
Author URL: https://archiveofourown.org/users/thatgbppfrom10880MP/pseuds/neverwondernever
Summary: <blockquote class="userstuff">
              <p>This is the first Appendices section for my fic collection. This a cheat-sheet series for my fic, The War of Winter, which I will post later once I'm finished drafting it.</p>
            </blockquote>





	1. Mbelekhuruz [Melkor, Morgoth]

**Author's Note:**

> Manwe = Mānawenūz  
> Ulmo = Ullubōz  
> Oromë = Arōmēz  
> Tulkas = Tulukhastāz  
> Aulë = Aȝūlēz  
> Mandos = Namandōstōz  
> Irmo = Glūrirmōnōlōsfantūrūz  
> Melkor = Mbelekhūrūz 
> 
> Varda = (A)Barādāz  
> Yavanna = Ivōnnākementarīz  
> Nienna = Fuiheskīlēz  
> Estë = Ezidhēz  
> Vairë = Gwairilēz  
> Vána = Wannāz  
> Nessa = Dinēthīz

Mbelekhuruz (Melkor, Morgoth)  
The Land  
Dark Tyrant  
Brother/sister/sibling of Manawenuz  
Brother/sister/sibling of Fuiheskilez  
One of the Darkness  
One of Pain  
The Slumbering One  
The Mighty One  
Lord of the Three Peaks  
The Mighty One Fallen  
The First  
The Constrainer  
The Protector  
The Unquenchable Fire  
All Consuming  
King of Arda/All

 

He is the tallest of the Valar, bound and unable to shapeshift. He is heavily scarred and his hands are blackened and burned. 

His domain is debated, but for those that follow him, they consider him the land itself. All, followers or no, consider him to be the Vala who understands pain the most, and for those that follow him therefore seek pain, while those who do not follow him tend to stay away from it. Those who follow him also tend to depict him in many ways (as they often do not consider him a singular, flat force, so how he is depicted depends wildly upon which “version”–none ignore his darker, more dangerous aspects). 

Those who follow him depict him equally as a being of ice and cold and of fire and heat. Some say this is because the earth (land) is not simply one thing, but that if one digs deep, they find equal heat and cold. Some say this is part of what makes him a being of seeming chaos or ever-changing, while this also means that his epithets and kennings list grows very long and makes it seemingly impossible to list them all. It also means that some of his names grow very complicated (which is very frustrating for translators and historians).

The races of Elves, Men, and Dwarves are conflicted on calling to Mbelekhuruz when in need, and therefore there are not many places that have worship for all fifteen of the Valar. Often, it is taboo to call upon Mbelekhuruz, and when seeking help from the earth (re: land), those often call on Yavanna (Ivōnnākementarīz) and Aulë (Aȝūlēz), among others, such as Vana (Wannāz), depending on their needs.

Those who do commit the taboo of calling upon Mbelekhuruz do not often call on the other Valar and Maiar; this is not out of taboo, but out of courtesy, tradition, or because they have no need to call upon the other Valar.

The stories (myths) of the Valar is often very confusing and therefore depends on tradition. Some say that Mbelekhuruz, Manawenuz, and Fuiheskilez are direct siblings, two brothers and a sister. Some say that Mbelekhuruz is not a brother, but a sibling, and therefore, as the first of the Vala, he transcends gender. Likewise, it is often disputed among his worshipers of his concept as time, and therefore, he is often depicted with his eyes closed (and is therefore also considered as sleeping). For many, they say that there is Valarin time, which runs longer (a Valarin day is a year to Men), but that a day to Mbelekhuruz is a year to the Valarin day. 

Some also say that Fuiheskilez was once the wife of Mbelekhuruz, and not his sister (although many say it is also a moot point, as they do not have genetics in any mortal sense), but that there was turmoil, and so they are no longer together. In these stories, it is often that Fuiheskilez is the sister of Mandos (Namandōstōz), whereas in many of the stories where Fuiheskilez is the sister of Mbelekhuruz, it is often that she is the wife of Namandostoz.

Some of the stories featuring Mbelekhuruz is the Vala of war-mongering and seeks to bind (constrain), conquer, and enslave all. Some say that he was once trusted by the Creator to help in the design of Arda and the other Ainur, but that the Creator grew angry and jealous, so the Creator attempted to destroy and ruin Mbelekhuruz. The latter stories are often told by the worshipers of Mbelekhuruz and claim that he desires to hold true to the original plan that he and the Creator formed. In many of these cases, stories often say that Mbelekhuruz had a second purpose beyond being a leader and creator, but what that is, no one is entirely sure.

In many of the stories told, Mbelekhuruz and his Maiar are considered very prolific, and it is unsure of which of the Maiar were born within the caves or breeding pits of Mbelekhuruz and which were originally created by the Creator themself (along with or without the help of Mbelekhuruz). 

Those who have great disdain for Mbelekhuruz say that he promotes and taints the meaning of sex (especially with intent of children), because those who worship Mbelekhuruz are often known to have little social laws regarding gender and sex. Many of the Valar have certain taboos regarding sex, but all of this becomes very quickly complicated, as the taboos vary upon century, decade, and on tribe or race and many of the same race (Men, for example) have many different taboos to gender and sex depending on what group they are. What mostly puts Mbelekhuruz worshipers apart from those of the Valar is that social law is often central to all of his worshipers.

Disputes, religious or philosophical, are debated by the followers of Mbelekhuruz. There were very few canon religious texts, and very many books written by the commoners and clergy alike. These are never meant to be taken as law, but rather to read, ponder, and debate. Even the canon texts are more philosophical than hard law. Debates are held on a specific day of the week, which would typically be held on what we consider a Wednesday. Not all are required to attend, but it is often a form of entertainment, and so work is often let out early. For those who cannot make it on a Wednesday, or for when a debate runs long, sometimes they are continued on what we consider a Friday.

On a gender and sex basis, therefore, the followers of Mbelekhuruz have their own opinions and takes. Debate is often less to create taboos, but more discuss the reality and function of the topics, such as health or care. That is, if one of the Children of Mbelekhuruz wanted to mark themselves (scarification, tattooing, piercing), then it is considered that it should done with ritual. The ritual in place is, besides a celebration, as often body modifications are done with meaning, also a function of preventing illness or infection. Therefore, if one were to have something done without this ritual, it could place them in danger (infection) and robs the society of celebration (isolation from society).

As a result, there is very little privacy among the followers of Mbelekhuruz, for society is held as one of the most important virtues. Many of the followers consider everyone as a sibling of sorts, whether by blood or not. To distinguish by blood, often one says “brother/sister/sibling of blood”. Sometimes they may distinguish what sort of sibling someone is (sister of war if they met in a battle, sister of the Three Peaks if they met in what is commonly known as Angband, etc). 

Death is not always seen as a negative for the followers of Mbelekhuruz, for those that die will feed the land itself. Dying is seen as returning to the Vala. What happens when one dies is not always known. Some say that they will be reborn, while others say that this depends on the race. 

For those that say that Mbelekhuruz helped the Creator in the making of the Elves and Men, they say that their self (soul) is split–a part returns to the Creator, whereas the second part returns to Mbelekhuruz. Some say it is the hroa that returns to Mbelekhuruz, while it is the fea that returns to the Creator.

Those who are created by Mbelekhuruz himself (balrogs, dragons, Orcs, trolls, etc) say that they return entirely to Mbelekhuruz, and that those who are Men and Elves may be reborn as the creations of Mbelekhuruz after death. Whether this means by form of necromancy or other methods is unknown.

The Dwarves have the most mystery about them, for they are neither the direct creations of the Creator nor of Mbelekhuruz, and are the most ostracized of those who follow Mbelekhuruz. Some say that they are the creations of Ayulez [Aulë], but that in creating them, Ayulez was no longer following the orders and desires of the Creator, but that of Mbelekhuruz, and therefore, in death, a part of them returns to Ayulez and a second part to Mbelekhuruz. Another story says that Dwarves were tainted/blessed (depending on the view point of the Dwarf) in secret by Mbelekhuruz through Mairoi (Mairon, Sauron) when he was still working for Ayulez. Those who do not follow Mbelekhuruz deny any connection to him.

Death ritual varies, but it is often in the way of embracing decay, burial, and cremation. Mummification or preservation of the dead is debated heavily, as it can say that one is denying Mbelekhuruz his due (the dead) whereas some say that in preservation, it allows for him to use the soulless body (necromany). Therefore, preservation is rare. Sky-burial and other forms (such as offer to the sea) is rarely done, although it is not without some instances (often by those who worshiped both Mbelekhuruz and the other Vala). Burial ritual is heavily regulated, as those who understand the land well know well of the dangers of poisoning wells with the dead. (Although this is often a tactic used by those of his followers against their enemies.) It is rare to bury individuals with trinkets, and ritual often dictates that the dead be stripped entirely, for it is considered that all should depart as they arrived–nude. (Nudity itself is rarely a taboo, and in many rituals, it is considered appropriate, particularly for those who have many markings–piercings, tattoos, scars.) Items that are stripped from the dead are then handed out to society. 

Cannibalism is often seen, but there are many laws to it. The creations of Mbelekhuruz (dragons, Orcs, balrogs, trolls, etc) do not seem to face any ill effect of it, but other creations (such as Men, Elves, Dwarves) tend to avoid organ and the central nervous system if they do cannibalize. Cannibalization among the children of the Creator and Ayulez tends to be for ritual purposes or survival purposes only, as it is considered unhealthy. Similar to preservation, cannibalization of the entire body is seen as “taking away” from Mbelekhuruz. Instead, often, for ritual, they use a surrogate animal (particularly if the individual was a worshiper of Mbelekhuruz). If the individual was not a follower of Mbelekhuruz, the body and spirit is often used as an offering to him. Blood is a common offering, however it is not always done so fatally, and is not always consumed, or done so directly. It is sometimes given to the soil, to fire, or made into food (wine, bread, sausages, etc). Sometimes, the ashes of an individual is equally made into food to be consumed in a mourning ritual, and other times, as an addition to soaps or paints to be used in a mourning ritual.

While death is not necessarily seen as the worst fate, many do not rush towards it with open arms. This is in part because the followers of Mbelekhuruz view their time alive as a service and to experience all that they can in respect for their Vala. This helps shape their laws (therefore allowing more things considered taboo in non-Mbelekhuruz worshiping societies) greatly. Experience of life includes wide-travel, experiencing sex (and thus sex working and orgy pits are not considered taboo nor illegal in their society), combat (and the allowance of fight clubs), and pain (therefore there are services to induce it and ordeals of pain). Those considered most beautiful among his followers tend to be most scarred and changed. Wisdom is not seen through age, but life experience (although this may often correlate with age as those who are older have had more time to gain life chances). When one seeks experience, it is considered rude or taboo to do so without desire to reflect on one’s experience. For example, those who gain scars for prestige and popularity are looked down upon and often punished, for they are considered to be mocking Mbelekhuruz, life, and society as a whole. Punishment, therefore, is often seen in the form of humiliation, therefore giving the individual the lesson they did not learn, so that they may then earn the scars that they already have. (Humiliation may also sometimes be asked for as a way of service to Mbelekhuruz.) 

There are some who willingly become death sacrifices to Mbelekhuruz. It is not immensely common, but those who do are considered with great respect. (This is not the same as those who are sacrificed but are not followers of Mbelekhuruz. Those are often war prisoners.)

To those non-followers of Mbelekhuruz, those who worship him are seen as revolting, crass, vile, and typically as aberrations. To those who worship him, his non-followers are often seen as not very wise nor very understanding (greatly in part due to the lack of physical scars or alterations to their body). This leads to many disputes. 

Beyond seeking experiences (and notably, pain), the worshipers also often highly respect certain forms of humility and honesty, as well as all forms of creation, which may include cooking, sculpture, working with the earth, destruction (or often conceptualized as alteration, such as taking a previous statue, deconstructing it, and making something new from it), smithing, fashion, drawing/painting (including tattooing), and more. Music is a great love, although this is not unusual, as all those who worship any of the Ainur love music. There is no taboo to what art is best done by what gender or race. 

Darkness is often preferred by the worshipers of Mbelekhuruz, and they have a very complicated relationship with light. To many, light is a symbol of the Creator, and therefore that of the one that betrayed their beloved Vala. However, in the religious canon texts, Mbelekhuruz does not ever truly express hatred or rejection of the light and the Creator. Light is often considered as a bitter-sweet thing. Symbols of light are still seen on their altars and among the art of the followers of Mbelekhuruz, as even Mbelekhuruz himself wore symbols of light (Silmarils).


	2. Manawenuz [Manwe, Sulimo]

**Summary for the Chapter:**

> This is the first Appendices section for my fic collection. This a cheat-sheet series for my fic, The War of Winter, which I will post later once I'm finished drafting it.

**Notes for the Chapter:**

> Manwe = Mānawenūz  
> Ulmo = Ullubōz  
> Oromë = Arōmēz  
> Tulkas = Tulukhastāz  
> Aulë = Aȝūlēz  
> Mandos = Namandōstōz  
> Irmo = Glūrirmōnōlōsfantūrūz  
> Melkor = Mbelekhūrūz 
> 
> Varda = (A)Barādāz  
> Yavanna = Ivōnnākementarīz  
> Nienna = Fuiheskīlēz  
> Estë = Ezidhēz  
> Vairë = Gwairilēz  
> Vána = Wannāz  
> Nessa = Dinēthīz

Manawenuz (Manwë, Sulimo)  
The Sky (Taimo)  
The Wind/Air  
Elder King (Aran Einior)  
High King  
King/Lord of the Valar (Valtur)  
King/Lord of Arda/All  
King/Lord of Breath (of Arda)  
Aman  
Breath(er) (Sulimo)  
Blessed One  
Beloved One  
Brother of Mbelekhuruz  
Brother of Fuiheskilez  
One who Listens  
Husband of Baradaz  
Vice-regent of Light  
Tumultuous One  
One who Destroys the Land  
Taker of the Waters  
One who Sits atop the High Mountain  
Holder of the Light

 

Manawenuz was the Ruler of the Valar and most beloved by the Creator. His eyes were blue and the colors most associated with him are blue and white. He is most typically associated as the brother of Mbelekhuruz and the husband of Baradaz, however in some stories, he is also the brother of Fuiheskilez. By association of his importance to the Creator, he is often considered as the one who is trusted most and holds the most of the Creator’s force, usually depicted in the form of light.

He is often considered with favorable terms, and therefore more often associated with breezes, winds, and the blue sky, however those who consider him with great favor also tend to be in greener, lush climates. Here, he is often a kind, but strong leader, and is looked to for guidance. It is not considered that he gives wisdom outright, but rather leads those in need to who may provide the best of guidance. If someone has hunger, he may direct them to Ivonnakementariz, for example.

Many say that you can hear his words on the wind, and that through the wind, he may hear what you say, so therefore, those in prayer often seek places that are likely to produce wind or breezes. It is not uncommon for offerings to include items most likely to be altered or moved or flutter in the wind, such as flags, chimes or bells, strips of cloth, and whirligigs are especially popular. Walls are not often included in his places of worship.

Another aspect of worship and association is that of birds, especially those that use wind channels. Hawks and eagles are the most common bird groups. Some say that the eagle was the creation of Manawenuz alone but other lore states that it was created through the marriage of Manawenuz and Baradaz, for while he was shaping his clouds, Baradaz offered one of her stars, so that he may watch the land, and therefore, he can now both hear and see upon all of Arda. Many depictions and places of worship for him also therefore feature a tribute to Baradaz in some form.

In lands that are less temperate, such as the eastern and southern lands, where deserts are common, Manawenuz is considered with great wariness, fear, and sometimes even anger. Here, he is both prayed to, often for mercy, but also often to help bring in clouds for water or shade and breezes. Due to the nature of the life in the desert lands, which often involve much travel, worship is often in the form of prayer. Many may carry small statues or other trinkets around their neck, sewn onto their clothes, or even tattooed or other marks.

In the middle lands of Arda, it is not often to depict Mbelekhuruz in favor, so much of the worship of Manawenuz does not include his elder sibling. Elsewhere, it is not rare to see a temple of Manawenuz with Mbelekhuruz. Many of these places are in the desert lands, where you have a high rate of dust storms. They are often considered younger in these stories and tend to be equally beneficial and cruel, sometimes at odds and other times working together–for the benefit of the peoples or for their harm. The places of worship here often include canyons and where wind has sheared away at the rock; there is much about Manawenuz chaining and influencing Mbelekhuruz. Mbelekhuruz is often considered mischievous and cruel, but understanding of the peoples, while Manawenuz is stern and crafty, yet sometimes giving and kind.

In the northern lands, Manawenuz is also often considered stern, but a lot less crafty. Wind is not often welcomed, and so his worship takes more of a merciful take. He is depicted more stern and many try to appeal more to his sky aspect, although with caution, because many tales tell that his adoration may bring blindness. This is likely due to, as the holder of light–and whether this means the Sun, Arien, or to his favored position with the Creator, it is unclear or depends upon the story being told–and the one who controls the clouds, he may cause snowblindness. Some may also ask for him to curse others with blindness as well.

Of the Vala, his relationship with Mbelekhuruz is often conflicted. While he is ultimately the one who chains and fronts the wars on Mbelekhuruz (and subsequently: Mbelekhuruz is the one who instigates destruction and war with the Valar), he remains to have tales of them working together. Depending on the region, some say that, while he created most birds, particularly eagles and hawks, with Baradaz, Mbelekhuruz helped him created vultures, buzzards, and other forms of carrion scavengers, such as crows and ravens. In some cases, some say that he created the carrion eaters from cloud forms, but had no spark of life to provide it, and that it was his brother, Mbelekhuruz who gifted him the fire, and as a result, this is why many of the carrion birds tend to be missing feathers. Whether it were eagles or vultures that were first created, it is up to debate. In many of the Elvish places of worship, they hold contempt and mistrust for carrion birds, for they are of Mbelekhuruz as much as they are of Manawenuz, and who their master is, it is unknown. Therefore, the bodies of the dead are not welcomed well into the Elvish lands. 

The societies who most attribute Manawenuz to death are those of the desert and the mountain folk. Those who reside in the mountains will often keep sky burials. These places of temple are most often a combination of Manawenuz and Mbelekhuruz, although on occasion, you may see tribute for Namandostoz and Fuiheskilez. Gwairilez does not often appear as a figure for the sky burials. In these sky burials, it is often that the two, Manawenuz and Mbelekhuruz, take their first pick of the body, as the death priests call forth the eagles and vultures. If the dead was a practitioner of one more than the other (as many often lean more towards Manawenuz), the death priests often give a piece of the remains first to a carrion or scavenger bird before spreading the rest of it out along the site, where more carrion and scavenger birds will pick and eat the remains. What is left is given to the land, and therefore Mbelekhuruz. Those who were worshipers more of Mbelekhuruz, it is often that, before the remains are cut apart, spread across the site, and the birds are called, a piece is burned and spread across the earth. In other cases, some may cremate the body and release it into the wind.

In the desert, those devout of Manawenuz are often mummified, and therefore, they will first go to Manawenuz himself before heading to Namandostoz. This is only done for those who have no relationship or a negative relationship with Mbelekhuruz. For others, a similar style to a sky burial is seen, as someone in the band (if it is a traveling group) may have a whistle that calls forth the carrion birds. Here, it is also not uncommon for wolves, wargs, and jackals to make an appearance, however this is often in connection to Mairoi (and therefore Mbelekhuruz) or Aromez. Manawenuz and Mbelekhuruz tend to take a more role in death than Namandostoz and Gwairilez.

In many other places, the dead is often cremated and the ashes are then spread into the wind. Here, it is more likely to see Namandostoz and Gwairilez as the prime death Valar. Prayer is still given to Manawenuz, as the Vala most associated with breath. In rare cases, you may also see prayer to Mbelekhuruz, but this is often done in fear or hatred, for he is the one who destroys.

Manawenuz is not often depicted as anything more than as a masculine Vala, however, it is well considered among many stories that the Ainur have no true gender nor sex, and therefore, there are some rare cases of his feminine and non-gendered forms. His worshipers do not have a major discrepancy between men, women, and other gendered people, and the discrepancy is seen specifically among certain cultures. In these cases, it often rules in favor for men as those who worship Manawenuz, and in these cultures, there is often a binary gender structure. In those cultures that tend towards more than two genders, Manawenuz is not seen as extremely masculine, and while usually depicted as a man, this is due to his consideration as a creator. Here, he may often be associated with the phallus and semen and in a sexual nature, tends to spread his semen (and sometimes referred to as seed, as many plants spread through distribution of wind and bird shit) across the land. A common depiction is for him to be standing as his semen sprays out. 

He is seen primarily with Baradaz, however this often remains a tame form. In some cases, they are considered to have children together, and these are their Maiar, however whether it is through an act of creation or sex, it varies, but often tends towards pure creation or formation, and not through “mortal” forms of birth. He is at times seen to be sexual with Ivonnakementariz, and here it is taken with fertility in mind. This is greatly due to how many plants spread through birds and wind-travel. In other cases, one may see Manawenuz and Mbelekhuruz, however this one varies much more heavily. In some cases, it is like that with Ivonnakementariz–the act of fertilization. Ivonnakementariz may also be included as well, and here, she is the creator of the seeds themselves, but she relies on Manawenuz and Mbelekhuruz for the land and sky, and is therefore fucked by both, often simultaneously. (In cultures that are very much against Mbelekhuruz and see him as a destroying force, he is often replaced by Ayulez.)

The largest case in which we see Manawenuz and Mbelekhuruz sexually together is in Mbelekhuruz-specific lands, where there are very few sex or gender laws. Manawenuz often appears masculine or with a phallus, while Mbelekhuruz takes a more variety of roles. Mbelekhuruz may often by chained. What Manawenuz does, and how much pleasure they both take from it, depends, and in some cases, you see many variations depicted at once, and therefore, it is very confusing as to what is unwanted and what is desired. It is perplexingly rare that it is Mbelekhuruz who is depicted in the power position with Manawenuz, or even with them in equal positions, particularly because these depictions and stories are often seen in Mbelekhuruz-dominant societies. This is made more so, for in Mbelekhuruz-hating societies, there is no known sexual aspect to the chaining of Mbelekhuruz by Manawenuz. 

Manawenuz is one of the most common Vala to be depicted or worshipped in Mbelekhuruz-friendly cultures, and he is the most common of Vala in Arda itself.

One largely debated name of Manawenuz is that of Aman. This is used by the race of Men, and it is equally often considered a place as much as the Vala himself. Therefore, it is considered that there is, at once, three versions of Aman: the place, the figure, and a non-corporeal form that is a “place” as much as it is a “figure.” This is considered a reference to the fact that he is not, and cannot be, truly corporeal, and is therefore the sky, wind, and air itself.

Because Manawenuz is not considered to have a fast-held form in the way that Mbelekhuruz has–who can only scar, crumble, and mar–and due to his adaptable associations (wind, air), he is often depicted in many different ways. The key to recognizing him is in color association (silvers, white, blue–often lighter blues) and what accompanies him–he may take the form of a bird, particularly an eagle, or have one as a companion, and typically there are swirls that represent wind or air. He also is usually seen physically above others or taller than others (with the exception of Mbelekhuruz, who may be physically below Manawenuz, although this is not assured, but is never smaller than the sky Vala). He is often also considered as wearing a disk of light behind his head, as to show his importance to and association with the Creator.


	3. Fuiheskilez [Nienna, Qalme-Tari]

**Summary for the Chapter:**

> This is the first Appendices section for my fic collection. This a cheat-sheet series for my fic, The War of Winter, which I will post later once I'm finished drafting it.

**Notes for the Chapter:**

> Manwe = Mānawenūz  
> Ulmo = Ullubōz  
> Oromë = Arōmēz  
> Tulkas = Tulukhastāz  
> Aulë = Aȝūlēz  
> Mandos = Namandōstōz  
> Irmo = Glūrirmōnōlōsfantūrūz  
> Melkor = Mbelekhūrūz
> 
> Varda = (A)Barādāz  
> Yavanna = Ivōnnākementarīz  
> Nienna = Fuiheskīlēz  
> Estë = Ezidhēz  
> Vairë = Gwairilēz  
> Vána = Wannāz  
> Nessa = Dinēthīz

Fuiheskilez (Nienna, Qalmë-Tari)  
The Night (Fui)  
The Winter  
Winter One (Heskil)  
Sighing One (Nuri)  
Mistress of Death (Qalme-Tari)  
Lady of Mourning  
She Who Weeps  
One of Many Tears/Sadness  
Queen of Shadow  
Lady of Pity/One who has Pity  
Grey Shroud  
White Queen  
Sister of Mblekehuruz  
Sister of Manawenuz  
Sister of Namandostoz  
Sister of Glurirmonolosfanturuz  
She Who Watches the Door  
Lady of Compassion  
Grey Shadow  
One of the Shroud  
One of the Shadows  
The Shrouded One

Fuiheskilez is most known for being shrouded, which is typically seen as grey, and is often considered in the middle lands to be in mourning, often depicted as her crying.

Whether she is the sister of Mbelekhuruz and Manawenuz or of Namandostoz and Glurirmonolosfanturuz is heavily disputed. In many of the earliest of sources, she is the sister of Mbelekhuruz and Manawenuz, and here, she is much more associated with shadows, darkness, and night. In this way, it is if Manawenuz is bright and the day, then she is the darkness and the night (yet not in the same way that Baradaz is the night). Fuiheskilez is best put as the night without stars. 

When she is the sister of Namandostoz and Glurirmonolosfanturuz, she is much more associated with mourning, pity, inner strength (or endurance of the soul, the fea), and this where she is often more associated with tears.

Because of these great discrepancies, there is much conflict over whether she is the lover of Namandostoz or of Mbelekhuruz, and in many cases, she is not seen as the lover of either at all, and therefore alone.

With all of that, she is immensely difficult to sum up and discuss in a simple manner. As with the others, it highly depends on the location of her worshipers and the most defining point–are they ones who are favorable to Mbelekhuruz or not. 

In her oldest of worship places, she is shown as greatly powerful and seems to be revered with fear as much as love. These temples, which are often in high locations, such as in mountainous regions, and tend to have a good view of the night sky. In these such temples, it is taboo to enter with your travel clothes. Instead, her priests, who are shrouded themselves, strip and bathe those entering her temple, and those visitors are then given covering to wear during their time at the temple. It is rare to have many visitors to these temples, and those who are her priests are held with much respect and fear. The largest demographic of her priests are women, but it not is not taboo to have priests who are men or other gendered.

Her devout worshipers often cover themselves, and there are many different forms and styles. It is not unusual in the desert regions to have head coverings in general, and some of this is with the strict purpose due to the weather–the coverings keep all cool and free from harm from the sun. Head and body coverings, however, that are used for fashion are much different than that of those used to show worship. They most recognized for how simple they are–no decoration or designs. Often they are basic colors and some are dyed to match the associated colors of Fuiheskilez–greys, but sometimes white or black–although in some sects, even dye is considered a luxury and design. Many times, shrouds are passed on through worshipers, particularly so after their death. A student may often wear the shroud of their mentor or be gifted the shroud for further use. There are some, particularly in the oldest of temples, where some shrouds have never been destroyed, only continuously added and patched with the shrouds from those who have died. Often, too, her temples are decorated with these shrouds, and it is considered rude to step on them. Her temples rarely have carpeting, so convention rules that if it is on the ground, it is polite to pick it up, even if one is not a priest. 

The function of her priests is that to upkeep her temple and to care for those who arrive, no matter who they are. It is often also to provide guidance for those who come, to listen to their tales, and to keep memory of the land.

It is difficult, therefore, for those who travel from the outer lands to the middle regions of Arda, because many are used to no taboo of who may enter the temples of Fuiheskilez. In the middle lands, due to the common negative view of Mbelekhuruz and that worship of him is taboo in many cultures, this ostracizes and creates rife between the outer lands and middle lands. So many of the outer lands–from the north, south, east, and west, either must accept these taboos or find temples within the worshipers of Mbelekhuruz, which often means that these travelers are shunned from many places in the middle lands by association if they are found out.

Monochromatic colors are typically used in accordance with her–black, grey, white. Grey is the most common, and this is partially due to disassociate her with the ancient, greater darkness, which is often called the Void. 

Her associations with the Void is heavily conflicted. Some say she has certain command over all darkness, and as a result, this includes the highly primordial, dangerous, and mysterious Void. There was a time in which worship in accordance to this was popular, and here there are often stories of her and Mbelekhuruz working together. This is when tales of them as lovers was popular. Who was considered more powerful and more dominant in the relationship is difficult to say. Despite Mbelekhuruz being considered as the mightiest of the Ainur and therefore the most powerful and the one that holds the greatest amount of light/fire from the Creator, there is also a lot of tales in which his siblings seem to match him. What can be determined from this is that while Mbelekhuruz is considered the greatest of the Valar, his usage of his power is heavily bound by his siblings and that they are much more clever in use of their vastly smaller power. 

In depictions of them as lovers, Fuiheskilez is often shrouded in black, not grey, to highlight her connection with darkness and the void beyond, and she is seen as equal to that of Manawenuz. She and Mbelekhuruz are seen as inseparable and far-reaching. She was considered colder in temperament and very shrewd. She is often associated with bats, and potentially a creation between her and Mbelekhuruz, or was a gift from him. She is also heavily associated with death itself, even in these stories, but primarily with the death of Men as a race.

When depicted sexually, she remains shrouded, and the sex aspects of her worship is held with great mystery. She is of the rare Valar to have pain associated with her in any form, and typically as the one giving it. Therefore her priests, when they may perform a sexual ritual, may cause pain unto others (yet are never the ones to receive it). Unlike with Mbelekhuruz, where he receives pain and gives it to others to non-Ainur, whether it is desired or not, and with little taboo, Fuiheskilez does not receive pain, but only gives it.* She is often also depicted as the one soothing pain, and therefore, as the only Vala who receives pain, she often harms and soothes Mbelekhuruz. She does not heal his harms, however, as that is more associated with Ezidhez. In times when he is harmed by others or chained and harmed or abused (again, variance is wide) by Manawenuz, Fuiheskilez may make an appearance, both in help of Manawenuz, but also as the one to soothe him. In some tales, these two work in tandem in harm and soothing him. These stories are rarely seen within the middle lands and primarily with those who actively worship Mbelekhuruz. [AN: I feel I should also add that those who worship Mbelekhuruz rarely seem to hate or despise those who harm him. Therefore, both Manawenuz and Fuiheskilez are not often seen as villainous, but are highly respected.] If there are depictions of Fuiheskilez harming Mbelekhuruz in the middle lands, it is typically without sexual context, in part due to her shrouded nature.

It is not unusual for a sexual ritual to take on the form of a play, and that there are those who take the role of Mbelekhuruz and those who take the role of Fuiheskilez (and sometimes one may take the role of Manawenuz to help in the chaining, and others as Ezidhez to heal the wounds). This, however, is less likely seen in typical temples, and more so in the pits of Mbelekhuruz’s temples, where there are many forms of plays that take on a sexual form (as is the theme of many of these pits). It is, however, worth noting, and that those who usually take Fuiheskilez’ role are often her devout and many of their faces are never seen.

Their falling out as lovers is typically seen with Fuiheskilez pushing her limits with Mbelekhuruz and over-reaching with her control over the darkness. This version of Fuiheskilez is often depicted with spiders, rather than bats, as a spider, or with spider features. There is little joy from Mbelekhuruz when she is in this form, and therefore, for those that worship Mbelekhuruz and therefore wish to threaten him or curse him away, they threaten to call forth Fuiheskilez in her spider form. This is, however, also considered a curse, and with some taboo, as Fuiheskilez in her darkest form and in association with spiders is considered highly unpredictable and dangerous.

When Fuiheskilez is seen as the lover of Namandostoz, she is much more associated with death in the sense of judgement. Some say she is the one who judges Men, and in this way, she is shrouded in mystery. As to where Men go once she has judged them, it is unknown. A potential theory, as she continues to be considered as the one of darkness, is that they go into the Void, and this is why she is the judge of Men. 

Despite being with both Mbelekhuruz and Namandostoz, she is rarely considered as a bride or wife. As with Mbelekhuruz, she is considered a lover, and initially, they are seen as working in tandem, but over time, she grows more controlling and powerful until she almost destroys him. With Namandostoz, their relationship is almost more formality, than an intimate or sexual nature. In this way, it can become difficult to see them as siblings or lovers, as when they are depicted as lovers, they are rarely intimate or sexual. 

In the middle lands, Fuiheskilez appears more personable and comforting, albeit she remains a solid and unwavering individual. This is the Fuiheskilez that cried in mourning for the Two Trees and their destruction, and is often considered as the one who sighs or who is heavily associated with tears and crying. She is not considered weak, nor is her mourning seen as something to mock.

One attribute to darkness and the night of her that remains within the middle lands is her role with the Door of Night. Her Halls are considered to be on the outskirts of Valinor, often near Namandostoz’s, yet looking out towards the Void. In some tales, her Halls lead into the Void. She is not considered to be the guardian of the door, nor the one to prevent the Void beyond from entering the world.

As the Vala of the winter, she is very prominent in the northern places (and far southern places, where snowfall is common), or within the mountains. Here, she may take on white as a color, more so than grey, and she is associated with snow and snow storms. One tale as to why she is shrouded is that her form is not that of a living being, but that she is always in various forms of decay. In the colder regions, where this is the most popular of tales, she is especially seen as in many states of frostbite, her flesh blackened (and another reason for her to be associated with black). Some say that this is due to her attempting to grasp and control the darkness beyond her capability, and that in turn, it has marred her as a result. She is also considered silent, and her aspect as “the dead itself” is one explanation to show this (beyond that of the shroud itself). It is not uncommon for death ritual for those ready to die to head into the deep winter and snow to be taken by Fuiheskilez, and those who are devout to her often end their life in such a manner (or are mummified and frozen).

Beyond snow, she is also often attributed to water dripping, as winters end in the melting of snow, and therefore, none can pass through winter (the event of a death) without water (mourning, tears), and it is not uncommon for her temples to have dripping sculptures or to promote water dripping.

*I feel I should note that of the Valar, Fuiheskilez is sympathetic to pain, yet has not received it in her depictions. Mbelekhuruz is consistently the harmed or abused in depictions, and therefore, in sexual depictions, he is always the one to receive harm (and who enjoys it may vary greatly). A good example of a sexual depiction without harm is with Ivonnakementariz, where she may be seen receiving from others, but she is always depicted in enjoyment, devoid of pain. Mbelekhuruz, however, is very commonly seen as in pain, both in enjoyment of it and in fear or despair or anger over it. Therefore, he is often seen with many of the Valar sexually or in positions of harm, abuse, or bound/chained (non-sexually).


	4. (A)Baradaz [Varda Elentari, Elbereth Gilthoniel]

**Summary for the Chapter:**

> This is the first Appendices section for my fic collection. This a cheat-sheet series for my fic, The War of Winter, which I will post later once I'm finished drafting it.

**Notes for the Chapter:**

> Manwe = Mānawenūz  
> Ulmo = Ullubōz  
> Oromë = Arōmēz  
> Tulkas = Tulukhastāz  
> Aulë = Aȝūlēz  
> Mandos = Namandōstōz  
> Irmo = Glūrirmōnōlōsfantūrūz  
> Melkor = Mbelekhūrūz
> 
> Varda = (A)Barādāz  
> Yavanna = Ivōnnākementarīz  
> Nienna = Fuiheskīlēz  
> Estë = Ezidhēz  
> Vairë = Gwairilēz  
> Vána = Wannāz  
> Nessa = Dinēthīz

(A)Baradaz (Varda Elentari, Elbereth Gilthoniel)  
The Stars  
The Lofty One (Varda)  
The Night Sky  
Star-Kindler (Tintalle, Gilthoniel)  
Star-Queen (Elentari, Elbereth)  
Queen of the Valar  
Lady of the Stars  
Ever-White (Fanuilos)  
Sacred Queen  
The Sublime One  
She of the Light  
She of Wisdom  
The Darkness as Light  
Sister-Twin to Fuiheskilez  
Wife of the Day-Sky  
Wife of Manawenuz  
Rebuker of the Darkness  
Watcher of Mbelekhuruz  
The One who Shines as Silver  
The Guiding One  
The Seeing One  
The Watcher

Abaradaz is a bi-fold Vala, for while Fuiheskilez is a Vala of Night, Shadow, and Darkness, Abaradaz is the stars within the night. She is often depicted in two different ways--as a being of the Night Sky, darkness and light itself, or as the starlight and stars themselves.

It is difficult to speak about Abaradaz without speaking of Fuiheskilez. Fuiheskilez is often depicted as the Queen and Lady of Shadows and Night, yet she is not the Stars and Light. She is the unbound, wild, and dangerous darkness. It is for this that she is the lover of Mbelekhuruz. However, Abaradaz is the Queen and Lady of the Stars and of associated with the night. As such, she is seen as friendly to the Children, for she is who brings guidance, wisdom, and illumination in darkness. 

It is unknown as to whether Abaradaz and Fuiheskilez were always syncretized or not. In many early scripts and tales, they are considered together, and often a “side of each other.” In this way, they are sisters, or twins, in ways that Mbelekhuruz and Manawenuz are not. Mbelekhuruz and Manawenuz, for example, are never considered “each other” and are extremely rarely, if never syncretized. 

In many temples, however, there are times when Abaradaz and Fuiheskilez are depicted together, Fuiheskilez the Darkness and Abaradaz as the Light, and together they are whole. They may at times be depicted as two different entities and at other times, they may be seen as one, and in this form, they are greater and larger than many of the other Valar save Mbelekhuruz. (Perhaps a helpful way to consider this phenomenon is Hathor-Sekhmet. They are their own entities, and yet, at times, they are one. Another example of such is more modern depictions of Belobog and Czernobog.)

Abaradaz is most often seen as cool in nature; while her husband, Manawenuz, is often seen as welcoming and warm in reception, she is not. This does not, however, mean that she is unkind or cruel. Rather, she is more akin to eternal and meditative. She does not react suddenly and rashly. When met with force, she will hold true and give an answer when ready. For this, she is seen and met with great reverence and is seen as immensely wise. Much like her husband, however, she does not always answer problems directly, but may often guide those in need to where they need be.

While her husband is seen as the One who Hears, Abaradaz is known as the One who Sees, for she is the Stars and Light, and therefore she may see all. She is also known as the one who sets the paths for the Sun and Moon, and therefore is never without an eye on Arda and the Land (and likewise: on Mbelekhuruz).

It is said that she helped Manawenuz create his eagles by gifting him a piece of light in the form of a star, and as such, he is associated with eagles and can therefore see and hear all on Arda. It is also then said that, in the syncretized form of Abaradaz-Fuiheskilez, they created life where Darkness and Light met. Fuiheskilez, therefore, formed bats with the help of Mbelekhuruz and with the help of Manawenuz, Abaradaz formed owls. Both as symbols are regarded with certain caution, for while some species of bats eat fruit and insects, some may also seek blood, and while owls are equally of benefit to many, hunting pests of harvests, there is tale that the greatest of owls match that of Manawenuz’ eagles and prey upon steeds such as horses and the Children alike. Abaradaz, as a result, is able to hear and see all, just as Manawenuz is able.

The temples of Abaradaz are always open-air, much like that of Manawenuz. In many cases, they are roofless as well, however in interest of rain and snowfall, some have slanted roofs that allow for observance of the night sky. 

In the eastern lands, it is not unusual to have those priests of Abaradaz to be highly knowledgeable in navigation and the night sky, and many sailors may hire them for this purpose. There are observatories as well, typically seen in the mountains, where many take note of the patterns and movements of the stars and they therefore may often use this to understand elsewhere in the world--to see far beyond in other lands and some say that they can see in the past and future as well.

Abaradaz is not highly associated with Arda itself, despite her love of the Children, and is more so with the created area beyond (Ea). Her temples then take a more otherworldly appearance and are heavy in calm contemplation and quiet. Common themes in her temples include silver, which is first altered and purified from its original form, and white trees. Song is common here as well, as with all Vala, it is highly enjoyed, and the songs for Abaradaz tend to take a longer theme. Likewise, it is not uncommon for her temples to create reflections of the night sky through the use of flat shallow pools. It is controversial, however, to use other reflective surfaces, such as large disk mirrors, to reflect the night sky, for this is seen as trying to trap and bind Abaradaz, and some myths mention of those folly enough to try and contain her through this method. Glass is also a common trinket among her temples as are crystals such as gypsum, which both often reflect the Silmarils and stars alike (and what they represent differs between where her temples lie), and low-lighted lanterns are also sometimes seen. Soft glowing light is more common than brighter, harsher lights. Colors in association are greys, silver, blue--darker blues and purplish blues. Black appears as well, but often to highlight her Light aspect and in accordance with her syncretized form with Fuiheskilez. Practice and activity in her temples are almost exclusively done so at night; due to this, her priests are, like Fuiheskilez’s, seen as rather mysterious and often treated with fearful respect.

Forms of scrying, however, are not strange nor unusual, and for this, shallow water in silver bowls is quite common, but flat silver discs also may be used. 

It is not taboo for men to serve as her priests, however a good many of Abaradaz’ are women. 

Forms of combat are not unsure, but they are, like the Songs of Abaradaz, they are smooth and flowing. They are often slow in action--much like arts like t’ai chi ch’uan. The arts they practice are focused on restraint/discipline, coordination/movement, and breathing/focus. While it may appear in the form of a slow dance and less combative and energetic, the arts of Abaradaz are not considered less dangerous or “soft.” Instead, those who practice are seen with great intensity and discipline, those who prefer to solve things without harm or combat, yet extremely deadly if pressed too far. This makes priests of Abaradaz well-respected, for like the wrath of Abaradaz may bring on her syncretized form or her twin, Fuiheskilez, and this can end the world, the curses of her priests may bring lifelong pain and agony.

Sex is not a common aspect of prayer or practice to Abaradaz. This is not to say it does not happen, nor is it inherently barred from her priests, but rather that as a Vala, she is not considered as heavily creative on Ea, and as such, if there is sex, it is not often including birth (unlike that of Ivonnakementariz). Heavily masculine forms of sex are not immensely common. It is most common to see her woman priests sexually active through masturbation or among each other. 

In the pits of Mbelekhuruz’s temples, where sex plays are immensely common, and where individuals take on the roles of folkloric figures--Ainur and other alike--it is not uncommon for those taking the role of Abaradaz to be paired with Fuiheskilez sexually, and here it is noteworthy that due to their complicated association, it is less seen as incestual as we see it among mortals, and almost akin to masturbation among a dual-bodied entity. There are times as well when she is seen with Manawenuz and in this way, she is the one with control and guidance for the duration of the sexual play and these plays often take an entire day. With Mbelekhuruz, where it is common to pair many Ainur with him, denial is common, and it often ends without his release.


	5. Ulluboz [Ulmo, Ylmir]

**Summary for the Chapter:**

> This is the first Appendices section for my fic collection. This a cheat-sheet series for my fic, The War of Winter, which I will post later once I'm finished drafting it.

**Notes for the Chapter:**

> Manwe = Mānawenūz  
> Ulmo = Ullubōz  
> Oromë = Arōmēz  
> Tulkas = Tulukhastāz  
> Aulë = Aȝūlēz  
> Mandos = Namandōstōz  
> Irmo = Glūrirmōnōlōsfantūrūz  
> Melkor = Mbelekhūrūz
> 
> Varda = (A)Barādāz  
> Yavanna = Ivōnnākementarīz  
> Nienna = Fuiheskīlēz  
> Estë = Ezidhēz  
> Vairë = Gwairilēz  
> Vána = Wannāz  
> Nessa = Dinēthīz

Ulluboz (Ulmo, Ylmir)  
The Waters  
King of the Sea  
Lord of Waters  
Dweller of the Deep  
He Who Pours (Ulmo)  
Ocean-Ruler (Garsecges frea)  
He Who Changes Shape  
The Formless One  
Friend of Manawenuz  
The Tameless One  
The Raging One  
He Who Sings Well  
He Who Gives and Takes  
The Boundless One

Ulluboz is the most fluid of the Valar–he is constantly changing shape and location, although his Hall remains in the deepest sections and therefore unattainable by man. Many who view him find him terrifying and awe-inspiring, yet gorgeous. He is also considered the most proficient in music and it is said that one can hear it most often in his realm.

He is not often paired with many other Valar. He is reclusive and because of this, it has depicted him as both a Vala to fear and a Vala to love–this is often not mutually exclusive. He is welcoming and giving, yet due to his untamed manner, those who worship him hold him in the greatest of respect. 

Typically, worship of Ulluboz relies on music, feasts, and bathing. His temples are often outfitted with elaborate water organs and other water-based instruments, and many are unique and bound to the temple, unable to be removed as they’re built into the structure itself.

Feasts and celebration of food and beer is not uncommon to his temples, and he is considered as a great provider and lover of gifts. His feasts naturally involve seafood, yet most often, the food that appears on these tables are not great large predators–such as tuna or swordfish–but rather herring, catfish, striped bass, bivalves such as oysters, clams, and mussels, and scavengers such as crabs, lobster, and crawdads. Seaweed also feature often in cuisine. Beer is a common feature as seafoam quite resembles beer foam.

The decor of his temples are quite often constructed of gifts of the sea–sea grass woven like rattan and driftwood is often used. Sea glass is not an uncommon gift either, and in bathing, sea sponges are used. 

It is not uncommon to arrive at Ulluboz’s temples with a gift in hand. This gift is meant to be given with warmth, and therefore is not a requirement, for not all have items to give. If no physical gift is provided, it is common to give something verbal, such as a story, song or news abroad, or to give physical aid–helping around the temple. Gifts given in the form of bribes or with malice are extremely taboo and very insulting, therefore, it is better to give nothing at all, and purity and honesty of heart and intent is immensely appreciated. For this reason, the priests of Ulluboz are quite perceptive and considered, as much as they are kind, quick to read a situation or person. If a priest of Ulluboz has ill-favor of an individual, there is often reason to trust that perception. 

Worshipers and priests of Ulluboz are often very community driven, which may seem at odds with Ulluboz’s tendency to never appear at council nor to be immensely invested in the other doings of the Valar. This is because Ulluboz does not care about micromanagement or what one may call “the petty drama” of his fellow beings. Much like the tide, the smaller issues that the Council handles will wax and wane, so therefore he sees no reason to invest effort into something that will, in time, handle itself. He therefore prefers to stay out of it and when he intervenes, its considered of importance.

Of the Valar, he well respects Abaradaz-Fuiheskilez, yet they often do not interact, and are never seen as a couple (re: lovers). Manawenuz is therefore the Vala he most commonly associates, and together they are seen as a great and terrible force that may destroy all, or are an extremely helpful and beneficial pair that can provide so much. His relationship with Mbelekhuruz, however, is immensely rocky, and often destructive. 

Mbelekhuruz is seen to attempt to command Ulluboz, yet he cannot be. While Mbelekhuruz has the might and power that none of the other Valar may match on their own (and together, still remain less in power than him), his power resides in that of fire and through physical means. Ulluboz, however, cannot be swayed or controlled through these means. The small set backs will not prevent to sea and waters from continuing. Another way to put this is that if Mbelekhuruz is rock and power incarnate, then Ulluboz is fluidity and water. It does not matter how much force the water meets, it can simply separate and reform. If water is met with too much force, due to its fluid, moving nature, it can often take in this force and return it multi-fold back, damaging the attacker even more. 

In tales between Mbelekhuruz and Ulluboz, is that of passing of force. Like a starfish and a clam, over time, Mbelekhuruz will eventually relent under Ulluboz. However, when they manage to work together, the lessons they provide have great worth and are well-rounded. This is immensely uncommon.

Manawenuz, an equally freely moving being, therefore gets much more along with Ulluboz. They are seen as great, fast friends. They are sometimes considered brothers–not by “blood”, but in heart. When they work together and are kept friendly, they are highly praised and met happily, yet it is likewise a great danger, for if one’s mood turns, the other will, and then travesty occurs. This often highly involves ships and sailing.

The priest demographics are open to both sexes, but non-binary and men are quite common, and Ulluboz, besides Mbelekhuruz, may have the largest demographic of non-binary worshipers and priests. Gay relations are also immensely common, and this is often taken in context with Manawenuz and Ulluboz–in some cases they are seen as lovers. Women are most certainly not barred from priesthood nor worship, however there is one sect that marries Ulluboz with Fuiheskilez, and this worship takes a secretive turn. This sect can and often involve blood sacrifice or blood worship–that of Darkness and Water–and it often involves the Dweller of the Deep side of Ulluboz. This also often involves the moon and menstrual cycle. This is not to say, inherently, that menstruation is considered evil, however, it is considered that through blood sacrifice (and however blood may be obtained) and marriage of the Dweller of the Deep and the Lady of Darkness, one intakes darkness into themselves. Many of these practitioners are feared and therefore practice is not well known. The music they produce is known to be atypical and chaotic (although this could be due to the complexity of their music as well).


	6. Ivonnakementariz [Yavanna, Kementari]

**Summary for the Chapter:**

> This is the first Appendices section for my fic collection. This a cheat-sheet series for my fic, The War of Winter, which I will post later once I'm finished drafting it.

**Notes for the Chapter:**

> Manwe = Mānawenūz  
> Ulmo = Ullubōz  
> Oromë = Arōmēz  
> Tulkas = Tulukhastāz  
> Aulë = Aȝūlēz  
> Mandos = Namandōstōz  
> Irmo = Glūrirmōnōlōsfantūrūz  
> Melkor = Mbelekhūrūz
> 
> Varda = (A)Barādāz  
> Yavanna = Ivōnnākementarīz  
> Nienna = Fuiheskīlēz  
> Estë = Ezidhēz  
> Vairë = Gwairilēz  
> Vána = Wannāz  
> Nessa = Dinēthīz

Ivonnakementariz (Yavanna, Kementari)  
Giver of Fruits  
Protector of [Plant] Life on Earth*  
Queen of the Earth*  
Earth-Giver*  
Protector of Plant-life  
Ordainer of Harvests  
Queen of Harvests  
Child of the Land, Sea, and Sky  
Twin-Wife of Ayulez  
The Mother

*Earth is a complicated term in English; here it means less “physical dirt” but more so the life, and in reference to Ivonnakementariz, this is plant-specific.

Ivonnakementariz is a Vala associated heavily with plant-life and harvests. She is often depicted as maternal and full-bodied and curvy. She is the first of the Valar that appears much younger. The previous five (Mbelekhuruz, Manawenuz, Fuiheskilez, Abaradaz, and Ulluboz) are often regarded as much older than the rest of the Valar and could be compared in similar regards as the Titans to the Olympians (Grecian) or the Jotnar to the Aesir (Norse). As the youngest, Ulluboz tends to be more welcoming to the Children, yet even so, he remains as equally daunting. Those younger than these five are often more welcoming, however these elder five remain with great respect and interest, so therefore are not ignored. 

She is often depicted as green or brown or black. She is rarely depicted in paler colors, and this is in part due to the richest soils tend, in many ecological regions, to be darker. Not all of the Valar have many rules or restrictions to the color of the skin they are depicted in--typically they may appear with a symbolic color (such as Manawenuz as sky-blue, Mbelekhuruz as earthen colors--black or red--or Fuiheskilez as grey or white) but there is little restriction beyond this. Color can be very important symbolically. Many of the Valar are depicted as very non-humanoid in appearance--multi-armed, colors not seen in local populaces (flesh tones are typically avoided, but not taboo, as there is also folklore of the Valar walking among the populations), among other atypical features. 

Ivonnakementariz is often seen as more curvy than the other Valar. This in part signifies that she is a giver of food and life. She is most notably associated with plants, not animals. 

It is considered that she could not exist with the Land, Sea, and Sky. It is often put into lore that she was the creation of those five Valar. Through the womb of the Land (Mbelekhuruz and the seed of the Sky (Manawenuz), she was conceived, and through the nurture of light, darkness, and water, which provided nutrients for her, she was born. [It may be noted here that in plant-growth, darkness is as important as light, which supports why Fuiheskilez and Abaradaz are inseperable.] It is often figured that the five worked together to create Ivonnakementariz.

Many depictions of her creation are explicit, and as the Valar do not have the same genetics as the Children of Creation (Elves, Men, Orcs, Dwarves), it is not uncommon to continue to see her in sexual acts with the other Valar, or even the Maiar. She is considered the most sexual of the Valar because of this. In the sex plays of Mbelekhuruz’s temples, there are books solely on her as a focused character. 

As it took five beings to create Ivonnakementariz, it is considered in many cultures that it is important to help support those who are pregnant and to support child care. It takes a community to bring life, and to help it survive. It is seen as blasphemous and cruel to ignore the plights of those who carry life or that of children. It is not considered cruel, however, to regard the life of the one who carries (re: the mother). The Land itself is important, and without it, nothing could survive. So if the Land dies, no life can exist. Therefore while Ivonnakementariz’s temples often feature pregnancy centers, they also provide abortive and health services. There are cautionary tales, often through the symbolism of farming. If one farms the Land too often without care for it, it will grow pale of nutrients, it will no longer be able to support more harvests, and in retribution, often communities suffer. As such, the temples of Ivonnakementariz and Mbelekhuruz both tend to support methods of preventing pregnancies unless it is wanted (such as condoms made from a sheep’s intestines). Responsibility for pregnancy is an important concept in her temples. Child care is equally important, yet often falls under the care of Vana.

As expected, Ivonnakementariz’s temples are plant-rich. What may not be expected is that they vary immensely per region. Some temples may contain non-native plant species, but this practice has many taboos towards it. It is not considered kindly, as bringing invasive species disrupts the native species, and therefore, this is seen as cruel and abusive. There is some plant trade, but many of these plants are kept with great care and not given out without great thought. Cuisine at her temples is also therefore extremely varied.

Altars in the form of gardens are also immensely common as a practice, and many of her priests (men, women, and non-binary alike) often travel far to share information with other temples, or to record and discover new plant-life.

In many of the older temples of Ivonnakementariz, or in the depths of her temples, there are temples the five first Valar, and almost always a small altar for Mbelekhuruz (barring the middle lands, where he is considered evil). It is common to give thanks to those five for their ability to provide and give forth the life of Ivonnakementariz and her creations, for without these five, she would be unable to exist, and therefore no life itself would be able, as all life relies on her gifts of food.

It is difficult to understand who is older, Ayulez or Ivonnakementariz, and often, they are considered as twins, as they were created at the same time. This often leads to debate and bickering. Ivonnakementariz was created through the help of all five, while Ayulez was a sort of by-product. This is because while she is plant-life and harvests, he is tools and the “fruits of the land” (gemstones, metals, etc). A simple way to put it is: without life, tools cannot exist, but farming [harvests] cannot exist without tools. They are twins, and when Ivonnakementariz was conceived, Mbelekhuruz, too, conceived Ayulez. This may reference the fact that while the sky and the sea are rich with benefits, the land itself gives many gifts--it can hold water, it is where tool materials come from, and it is where plants gain nutrients. By supporting Ivonnakementariz, the Land, the Sky, and Sea, created more than just plant-life, they supported all life.

As she is so highly associated with growth and plants especially, her temples often feature trees and it is considered that her prime guardians are trees. This leads into the lore of Ents, and that she asked the Great Creator for protection, as she found that the Land itself (Mbelekhuruz) did not often take in the consideration for her own creations. The Great Creator gifted her the Great Trees, the Ents, to help ensure that her life (and therefore all life) continued. The Ents, it is noted, do not simply just protect from Mbelekhuruz, but the great winds of Manawenuz, the floods of Ulluboz, and other harm from the Children of Creation (Elves, Men, Orcs, and Dwarves) or other Valar and Maiar. Trees are holy to the priests of Ivonnakementariz for the great good they do, and their temples are often natural (not crafted from wood). This can cause strife with her husband and twin, the tool-maker and user.


	7. Ayulez [Aulë, Oli, Mahal]

**Summary for the Chapter:**

> This is the first Appendices section for my fic collection. This a cheat-sheet series for my fic, The War of Winter, which I will post later once I'm finished drafting it.

**Notes for the Chapter:**

> Manwe = Mānawenūz  
> Ulmo = Ullubōz  
> Oromë = Arōmēz  
> Tulkas = Tulukhastāz  
> Aulë = Aȝūlēz  
> Mandos = Namandōstōz  
> Irmo = Glūrirmōnōlōsfantūrūz  
> Melkor = Mbelekhūrūz
> 
> Varda = (A)Barādāz  
> Yavanna = Ivōnnākementarīz  
> Nienna = Fuiheskīlēz  
> Estë = Ezidhēz  
> Vairë = Gwairilēz  
> Vána = Wannāz  
> Nessa = Dinēthīz

Ayulez [Aulë, Oli, Mahal]  
The Smith  
The Great Smith  
The Maker (Mahal)  
Craft-Ruler  
Invention  
Invention-Child of the Land  
Twin-Husband of Ivonnakementariz  
The Father

Ayulez is most noted as the maker of the Dwarves, done so out of perceived rebellion to the Great Creator. He is often seen as muscular and tan or brown, less typically black, however in some tales, he has blackened hands. He is the husband of Ivonnakementariz and twin, as he was created in tandem with her. Their relationship is often seen at odds, as Ivonnakementariz may overtake and destroy his works for the progress of her plant-life and Ayulez may often destroy her plant-life to create his tools.

While Ivonnakementariz was born through the five, in the mind of the Great Creator, and therefore the Child of the Land, Sky, and Sea, Ayulez was born by the Land themself. Ayulez could not have existed without Ivonnakementariz, and so they were born together. In some stories, it is seen that Mbelekhuruz has such a fertile womb that when the Land, Sky, and Sea came together to create Ivonnakementariz, he could not bear to conceive just one being. As such, Ayulez is seen as an invention, and therefore the father and ruler of crafts and inventions. He contains the drive passed to him of making and creation. In the middle lands, where Mbelekhuruz is oft seen as evil and unsavory, Ayulez’ and Ivonnakementariz’s origins have been altered. As such, Ayulez’s darker side is often also therefore gifted to Mbelekhuruz.

While Mbelekhuruz is much removed from the Children of Creation, seen as less amiable, or most importantly: less careful around them, Ayulez is younger and as a direct creator of one of the Children, immensely interested in their going ons and well-being. It can also be said that Mbelekhuruz, due to its age and longer sight, often overlooks the shorter, smaller things. Ayulez, who is smaller, less muscular (although not lacking in any means), and younger is more focused on people and the short-lived than the nature/land and cannot see as far ahead as Mbelekhuruz.

As the Smith, Ayulez can often be seen with blackened hands, of which is not unusual for Mbelekhuruz either. As creators, their hands are often dirty, but smithing especially lends itself to permanently blackened hands. It is considered that Ayulez appears cleaner than Mbelekhuruz, for Mbelekhuruz never halts in his creation and takes less care--both of himself (lending him to be heavily scarred) and that around him (as in his mind, all things will come to pass). Ayulez creates, but with less limitless fervor, therefore his hands are not considered permanently stained. In the middle lands, Ayulez loses this aspect, in part because Mbelekhuruz’s hands are eventually permanently scarred and burned through the theft of the Silmarils. 

Ayulez, as such with Ivonnakementariz, are not as likely to have out-of-the-way temples, although she is more likely to have more temples than he does. Ayulez’s temples are seen more often in cities and hub-centers, where many can learn crafts. Both are likely to have altars near the hearth, where it is a reminder that they are to thank for the food and tools, that both are what makes a home possible, and that despite their differences, they remain together and functional.

There are priests of Ayulez, and unsurprisingly, they focus on creation and tool-making. The temples are much less interesting in life. Altars to Mbelekhuruz and Ivonnakementariz tend to make an appearance in the temples to Ayulez. Mastery of skills is what is focused on. While innovation is an aspect to the creative aspects of the priests and teachings of Ayulez, for he did create the Dwarves, it is considered that he largely overstepped his bounds. Discipline is an important aspect in the teachings of his priests. Likewise, purpose of one’s creations are considered very important. 

In the middle lands, Ayulez’s creation of the Dwarves is seen as more negative and a thoughtless, reckless act. In the rest of the lands, it is much less so. it is often considered in the outer lands that the Great Creator has little affect or interest in Arda and its going-ons as well as little power in its activities (in part this is due to the aspect that while the Great Creator is considered to exist, it is much in the way of the Ginnungagap [Norse] or Chaos/Chronos [Grecian]). The creation of the Dwarves is not inherently seen as wrong, but rather than much like the Land, the Smith cannot help but create with fervor, and as a creator, can be prone to make without forethought to how the world will react.

Repetition and replication of the masters’ works is not an uncommon practice to Ayulez’s priests and devout worshipers. It is seen as important to understanding discipline, form, and function. This is not to say that innovation or original creation is not banned; original creations are allowed, but must have forethought and care. 

The study of rocks, metals, and chemistry is immensely important to the devout of Ayulez, just as gardening, soil-care, and herbology is important to the devout of Ivonnakementariz.

Ivonnakementariz and Ayulez, despite being wife and husband (and often considered as a mother and father) are not known for having many children between each other. Ayulez creates the Dwarves on his own, while Ivonnakementariz creates her plant-life on her own, and therefore they both have children, yet not with each other.


	8. Aromez [Oromë, Araw]

**Summary for the Chapter:**

> This is the first Appendices section for my fic collection. This a cheat-sheet series for my fic, The War of Winter, which I will post later once I'm finished drafting it.

**Notes for the Chapter:**

> Manwe = Mānawenūz  
> Ulmo = Ullubōz  
> Oromë = Arōmēz  
> Tulkas = Tulukhastāz  
> Aulë = Aȝūlēz  
> Mandos = Namandōstōz  
> Irmo = Glūrirmōnōlōsfantūrūz  
> Melkor = Mbelekhūrūz
> 
> Varda = (A)Barādāz  
> Yavanna = Ivōnnākementarīz  
> Nienna = Fuiheskīlēz  
> Estë = Ezidhēz  
> Vairë = Gwairilēz  
> Vána = Wannāz  
> Nessa = Dinēthīz

Aromez [Oromë, Araw]  
The Hunter  
One of the Woods (Tauron)  
Sound of Horns  
Son of the Mother*  
Horn-blowing One  
Hunting Lord  
One of the Wild  
The Wild One  
The Great Rider  
The Riding One  
Lord of the Wild  
The Wilderness**  
Brother of Dinethiz  
Brother of the Wind   
One Who Mounts  
One Who is Mounted

*The Mother being Ivonnakementariz [Yavanna Kementari]  
** The wild/erness is perhaps the most apt word in English, but here I mean more of the “animal” than the plant-life, when conceptualizing what is the wild. It simply sounds awkward to say “The Animal One.”

Oromë is known for his great bellows and for his far-reaching travel. He is most associated with being the child of Ivonnakementariz and the sibling, typically a brother, of Dinethiz [Nessa]. He is considered to be married to Wannaz.

He is considered lean in stature and therefore less bulky as Ayulez and Mbelekhuruz, but he is also considered muscular. He is greatly associated with ungulates--horses and oxen, primarily--and the father of them, especially so the horses used by the Children and the Kine, a type of oxen, holy and great in stature, similar to our Aurochs. Therefore, this is his association with Dinethiz as it is often that horses are paired with the wind, and well-love the meadows of Wannaz. 

He is the prime Vala associated with animals, however he is not well-considered to be associated with all animals. Ulluboz is most associated with aquatic animals for obvious reasons, while Manawenuz is most associated with birds. Aromez is most associated with ungulates. Therefore, because many of the Children of Creation benefit from ungulates--horses, oxen, sheep, goats, etc--he is considered a gift-giving Vala and cares well about the hunt as much as the survival and care of his creations, the Kine.

It is not considered taboo, by the devout of Aromez, to hunt, consume, and use his charges for food or for work and travel. Rather, it is considered by his devout that one respects and cares for his creations and is not cruel to them. In some cases, there may be holy creatures, especially that of cattle, which are highly valuable alive as work creatures and as milk-providers, and killing and consumption of them is considered an insult to Aromez. 

Slaughter of domesticated species is taken with great care and ceremony. One of his devout, if at hand, typically performs the slaughter. It follows that one thanks Aromez and the creature at hand for their gift. The animal is soothed and considered with care as the devout, which are typically wandering priests, takes a sharp blade to slit the skin of the animal, but not enough to cause it great pain nor to destroy its artery. The devout then uses their fingers to pinch the artery, cutting off the blood supply from the animal’s brain. The animal often dies without much struggle and without great pain. From here on, the animal is butchered quickly and all parts are used.

Slaughter of wild species is more difficult, as they do not often willingly allow touch of the devout, so hunting skill is highly important, and death of the animal is preferred to be quick. 

Aromez’s devout and priests often are wandering and mobile. They do not often hold farms, or if so, they travel from several areas for the betterment of grazing. Usage of the animal is important. They are known as sources for great furs and often trade with other peoples for resources. Many are great leatherworkers, and it is not uncommon for these wandering peoples of Aromez to be well-peppered with devout of Ayulez, Ivonnakementariz, Dinethiz, Wannaz, and Ezidhez (Estë).

Aromez is likewise often associated with music, for he is also the one who bellows and carries a horn, and therefore knows well the art of throat-singing and music produced by trumpet and horn. The music of his wandering devout often takes a traveling, hoof-like beat, denoting movement of horses or other ungulates, and the throat-singing that is so common features imagery of across the world, what the person has seen, or stories passed down. Oral tales and tales through song are popular.

Aromez is less popular in the middle lands outside of the horse peoples, and is most popular the the colder regions and hill and mountain areas of the North. He has a place as well in the desert regions, where many associate him with camels, zebras, rhinoceroses, and similarly associated ungulates. Here, there is still the association with horses and bison, buffalo, llama, and oxen, but it is worth mentioning that his association and image can take on different forms depending upon the region and associated animals. As such, his devout can vary greatly in appearance, yet hold great kinship, for they are all the wandering devout of Aromez. 

There are at times considered two forms of Aromez--the one who is the mount, and one who mounts. As the one who is the mount, Aromez is the ungulate himself--the horse or donkey or camel, as an example. For this reason, all mounts are well regarded and respected, for one may never know whether they are speaking to the animal or the Vala. This is why when one kills an ungulate, one thanks both the animal and the Vala, for they are one and the same. 

The one who mounts is the rider, and therefore it is common to treat strange wanderers with great respect. Many of his devout offer wanderers they meet with food, water, rest/care, and trade. Gifts are quite customary, and if one cannot give something physical, one often gives tale of news or story or aid. It is not uncommon for those with little to offer their last decorative possession (such as a necklace), no matter how dear it is to them, for all is fleeting, be it a material item, a place, or people (and their lives). It is often that the wandering devout speak of the importance of the now, and it is not unusual for them to consider that the future is unseen and behind them (aka: one cannot see [know] what is behind physically) and the past is forward and seen (aka: one can see [know] the past because it already exists). 

The concept of two Aromez has a sexual nature as well, and sex has taboo among his devout, for it is an important function. There is a subsect of priesthood known as the Whore-priests of Aromez, which is not considered in a pejorative sense. These priests are considered, whether in truth of lineage or in spirit/mind, the children of Aromez. They are typically women and can often be recognized for the symbols they wear. They very often have wanton, open sex with others, and injury or harm to them is a great taboo. Whether or not they are fucked, they are often given gifts and resources. They typically are great sources for husbandry as well. There are some who are not horse-aligned, but it is the most common of ungulate for the Whore-priests of Aromez. A reason for this is that many female horses will often fuck all the male horses in a herd when pregnant in order to ensure the survival of their kin.

Aromez in general is often a popular Vala for transgender women and this is why not all women of the Whore-priests of Aromez are cisgender. This is in part because the urine of mares is a great source for estrogen, and rendered for use of transition for transgender women and non-binary individuals. Therefore, besides Mbelekhuruz, who is welcoming of all, Aromez is the next greatest Vala worshiped by the transgender population on Arda. It is not uncommon for the devout and general transgender population, to seek Mbelekhuruz’s temples, and with the help of Aromez’s and Ezidhez’s devout, they transition. This is also likely why there is lesser support for transgender populations in the middle lands, where both Aromez and Mbelekhuruz have less worship and importance. There is some exceptions, such as in the horse lands, and the wandering peoples of the middle lands, but the wandering peoples of the middle lands often feature less in the histories of the middle lands.

For those devout of Aromez, receiving sex (the submissive/bottom position) and giving sex (the dominant/top position) are not seen as shameful, but rather the natural way of life. The Whore-priests of Aromez are not always likely to be a submissive receiver, but rather the sexual act, be it what it is (and typically there is a notable submissive and dominate individual in these acts), is an act of devotion itself, as is husbandry and the understanding of animal held dear to the individual Whore-priest. 

Hunting is likewise a very important skill among the devout of Aromez, no matter its nature, although spear/javelin and bow and arrow are the most popular forms. Butchering, tanning, bone-cleaning, and leather-working are another set of skills held dear to his devout. The third set most important to his devout is that of animal husbandry and animal care. Many of these lessons are passed on through song.


	9. Dinethiz [Nessa, Indis]

**Summary for the Chapter:**

> This is the first Appendices section for my fic collection. This a cheat-sheet series for my fic, The War of Winter, which I will post later once I'm finished drafting it.

**Notes for the Chapter:**

> Manwe = Mānawenūz  
> Ulmo = Ullubōz  
> Oromë = Arōmēz  
> Tulkas = Tulukhastāz  
> Aulë = Aȝūlēz  
> Mandos = Namandōstōz  
> Irmo = Glūrirmōnōlōsfantūrūz  
> Melkor = Mbelekhūrūz
> 
> Varda = (A)Barādāz  
> Yavanna = Ivōnnākementarīz  
> Nienna = Fuiheskīlēz  
> Estë = Ezidhēz  
> Vairë = Gwairilēz  
> Vána = Wannāz  
> Nessa = Dinēthīz

Dinethiz [Nessa, Indis]  
The Wind  
Dancing One  
The Dancer  
Fleet-footed One  
The Bride  
The Young One  
Sister-sibling of Aromez  
Sister-sibling of Wannaz  
Friend-Wife of Tulukhastaz  
Daughter-kin of Ivonnakementariz  
Quick One  
The Messenger   
Arrow Guide

Dinethiz is most associated with the wind and fast-traveling animals, such as deer, lizards, and ground birds, such as roadrunners and ostrich. She is considered the youngest of the main Valar and often listed last, however I pair her here as she is most connected with Aromez. Her true age is up to debate, as Wannaz is oft considered a child-god, so despite her title of the youth, she is not youth incarnate as Wannaz is. In comparison to the first five--Mbelekhuruz, Manawenuz, Fuiheskilez, Abaradaz, and Ulluboz--she is immensely young. 

Dinethiz is often depicted in relation to yellows and greens and like Wannaz, she is considered a Spring-related Vala. She is sometimes also associated with flowers, and in some stories, they are considered sisters, whereas Tulukhastaz and Aromez are considered brothers.

She is very often depicted with fast-traveling animals. In the middle lands, she is associated with deer, and in the desert lands, antelope, as far as ungulates go. She is also well associated with lizards and ground birds such as ostrich, emu, and roadrunners. Unlike Aromez, who is known to appear as animals, she is associated with these animals because the wind alone cannot be depicted; it must always be depicted in relation to what it interacts with. These animals are seen as her companions.

Her association with the wind oft pairs her with Manawenuz, whom often acts as her uncle and mentor. She is known to be the help Ivonnakementariz to help spread plant-life seeds. She is the prime messenger of the Valar, and for this reason, temples to Manawenuz may often feature a smaller shrine to Dinethiz, for it is she who is likely to bring his messages when he cannot.

She is not often associated with flying birds. She is the sweet summer breeze to Manawenuz’s more dangerous gales.

In tales about Dinethiz, she is considered well-loved by the Vala. She is a peaceful Vala, and most known for being welcoming, energetic, and cheerful. 

In some tales, she is thought to be a bride, but this is a mistranslation, and therefore has importance in marriage ceremonies. She is often called on to validate the marriage. She is, however, not actually married. She is not known to be a mother as Ivonnakementariz is, who is both a wife-bride and a prolific mother. Dinethiz often represents the new bride, without motherhood. It is worth noting however, that in some tales, she is considered to have a son with Tulukhastaz. This form of her is often that of the one who guides arrows in battle. She is not often considered as a war god, but it does exist. This form of her is usually seen with darker greens. 

In truth, Dinethiz is not actually married to Tulukhastaz. They are albeit unlikely, but strong, fast friends. In many of the languages her stories come from, the concept of “bride” is that of a title. It is possibly more accurate to call her friend-wife, which denotes a type of friendship so strong and unbreakable that it is in many ways akin to a marriage. Many consider Dinethiz and Tulukhastaz as living together, but not physically intimate, nor actually married. Their friendship is considered the strongest of all the Ayanuz, and this is why she is often called on to officiate marriages: she know most of all what a commitment, no matter be it friend or mate, costs. She is called upon many other bond-making oath ceremonies (such as “We are sibling-like friends” or “We are like wife/husband-like friends”). She is not necessarily the sole Vala called for oath-making, but as messenger, she is also the one who will bring that oath to the other Vala, and therefore, she is important to call upon during an oath.

She may often be depicted with armor in her form of Arrow Guide, but her armor is considered light and easy to move in. Typically she is not clothed and if she is, it is typically sheer, thin cloth and easy to move in--even as the one who guides arrows, for wind has no need of clothing nor armor.

Her devout are often messengers. They typically wear light greens and yellow. They are well-traveled, and as such, Dinethiz is also often considered as a Vala who cares much about languages, for one cannot be a messenger without the power of speech. Therefore, many of her temples take the role of post offices, places for translation, or places to learn about trade or exchange of currency. Like most of the temples to the Valar, her temple is considered neutral ground, barring the middle lands. 

Her temples are kept well-cleaned and immensely orderly. Those of her devout are not kept in one place for long and serving her is not a life-long commitment.

Her orderliness is considered as part of her Bride aspect. This is not based on sex or gender, but rather that in a new relationship, no matter what kind it is, it is important to take self-responsibility. Tulukhastaz is not well known for his kindliness, and in many tales, it is Dinethiz who has control of their household, for without her, his wars could not function (the saying goes: without the wind, arrows cannot fly). With her connections to the other Valar, she is often considered powerful. To insult or offend her is to close all contact with the Ayanuz. Therefore, many temples overall will have a place for her, and it is considered well-advised to pay respects to her. In many places, it is considered a sin to kill lizards for they are one of her prime helpers. 

Many youth are encouraged to volunteer for Dinethiz, in part to create a healthy relationship with her and to help in the aid of her temples’ needs. After their volunteership, some remain at her temples, while others move on to other pursuits. Therefore, her priests are often called Brides--and there is no gender-taboo (or rather: even men are called Brides).


	10. Tulukhastaz [Tulkas, Tulcus]

**Summary for the Chapter:**

> This is the first Appendices section for my fic collection. This a cheat-sheet series for my fic, The War of Winter, which I will post later once I'm finished drafting it.

**Notes for the Chapter:**

> Manwe = Mānawenūz  
> Ulmo = Ullubōz  
> Oromë = Arōmēz  
> Tulkas = Tulukhastāz  
> Aulë = Aȝūlēz  
> Mandos = Namandōstōz  
> Irmo = Glūrirmōnōlōsfantūrūz  
> Melkor = Mbelekhūrūz
> 
> Varda = (A)Barādāz  
> Yavanna = Ivōnnākementarīz  
> Nienna = Fuiheskīlēz  
> Estë = Ezidhēz  
> Vairë = Gwairilēz  
> Vána = Wannāz  
> Nessa = Dinēthīz

Tulukhastaz [Tulkas, Tulcus]  
The Strong One  
Golden-Haired One  
Strength-Ruler  
The End  
Ending One  
Friend-Husband of Dinethiz  
Son of the Land  
Brother of the Invention  
Brother of Ayulez  
Muddy One  
The Warring One  
Defending One  
The Sporting One

Tulukhastaz is typically viewed as the color of mud and with great, shining golden hair. He is considered the son of Mbelekhuruz, the brother of Ayulez, and a strong friend to Dinethiz. He is most attributed to strength, stronger than that of Ayulez, but lesser so to Mblekehuruz. 

He is considered the most war-like of them, and is often attributed as one of the youngest. Even though Wannaz is often called the Ever-Young, she is not necessarily the true-youngest (or: newest) nor the one who is considered created/born last. Who is truly the newest is easily debated, but it is often considered to be either Dinethiz or Tulukhastaz. Typically it is Tulukhastaz who is newest of the Ayanuz, while Dinethiz is the second newest. Wannaz, therefore, is youngest, but not newest (although typically considered third newest). Another way to put it is the order of youngest is:

1\. Wannaz  
2\. Tulukhastaz  
3\. Dinethiz  
4\. Ezidhez  
5\. Namandostoz; Glurirmonolosfanturuz; Gwairilez   
6\. Ayulez  
7\. Ivonnakementariz  
8\. Ulluboz  
9\. Abaradaz  
10\. Fuiheskilez  
11\. Manawenuz  
12\. Mbelekhuruz

Wannaz being youngest.

Newest as is:

1.Tulukhastaz  
2\. Dinethiz  
3\. Wannaz  
4\. Ezidhez

Tulukhastaz being newest.

This may seem unusual, as we usually attribute newness and youngest as the same, however for those in the middle lands, there is considered a binary faction: those who work for the Great Creator under the name/guise of Manawenuz, and those who work for Mbelekhuruz. This bipartisanship system often creates the aggressive “one is evil; one is good” concept. The order of the youngest of Ayanuz, therefore, has altered dramatically in relation to the rest of the lores of other people.

Tulukhastaz is often considered a Vala of War, especially so in the middle lands, and his attribute of strength is that of persistence and hard-headedness. He is considered least bright (re: intelligent) of the Valar. He is often considered the child of Mbelekhuruz. It is said that in the aftermath of Fuiheskilez’ rampage, wherein she grew too great and powerful with her darkness, taking upon the visage of the ever-light hungry spider until she was brought down in power by the Ayanuz, Mbelekhuruz bore Tulukhastaz forth. It is said that in the final moments, it was Tulukhastaz that brought Fuiheskilez’s downfall. The tale goes that at the moment, Mbelekhuruz was the bearer of the mask that was Tulukhastaz, which was made of mud. Mbelekhuruz wore the mud mask, and found that light reflected off of it, much like a mirror, and therefore Fuiheskilez could not consume the light. Mbelekhuruz gave the mask life in the process of this final battle--whether this was intentional or not, it is debated--and this mask became Tulukhastaz, the one who gleams and the one who ends war.

Tulukhastaz is not often considered one to call upon for peace agreements nor for preventing a war. Those commonly called upon for guidance is Dinethiz and Ezidhez (as a pair), but Manawenuz can also be common to ask for wisdom. As such, Dinethiz and Manawenuz are often called for wisdom and strategy in war, whereas Tulukhastaz is called for strength and perseverance. If Tulukhastaz is mentioned during peace or war prevention, it is often for mercy or to stay away. During treaties, it is not uncommon to have a distracting ritual. Therefore, not all wars are wars of pure combat, but rather mock battles. A selection of individuals from each side are chosen and expected to act in these mock battles, known as sporting. These trials of sparring and mock battles are not used as entertainment as it is today (or rather: it is not an industry; entertainment itself is a factor, as it is meant as a distraction, but it is not seen as a profession nor is it a major money-making venture), but generals of each side may use an event to distract their soldiers while they make delegation and treaty. At other times, the distraction ritual involves two individuals who may spar away, outside the treaty tent, while the generals delegate.

Dinethiz is often associated with Tulukhastaz. They are not married, but often live together in their tales and are typically seen as traveling companions. It is considered that Tulukhastaz cannot war without the aid of Dinethiz, particularly due to “arrows cannot fly without the wind” but also that “war cannot exist without the wisdom of others” (typically a sarcastic concept). 

Tulukhastaz’s temples and devout well-respect arts of war, strength or body-building, and discipline. While some are considered wandering war-bands, which are often for hire. War-masks are a common feature in relation or symbolism to Tulukhastaz.

Tulukhastaz is considered to have at odds with the Ayanuz, which is heavily due to his warring nature, however one he has greatest odds with is Mbelekhuruz. Even though Mbelekhuruz is strongest of all, Tulukhastaz at times has posed a threat, largely due to his perseverance; in many ways Tulukhastaz resembles Thor [Norse], particularly in the myth of Utgard-Loki, where Thor wrestles Old Age. His strength is tied to his stubborn-ness.

In the sex plays of Mbelekhuruz’s temples, Tulukhastaz often appears as that which takes aggressively. In many cases, this is why Dinethiz and Tulukhastaz are not considered as sexual partners. Dinethiz cannot be taken aggressively and Tulukhastaz cannot easily accept being taken. He is often seen as being wound up, including by Dinethiz, and therefore finds another to take his aggression and sexual need out on.


	11. Wannaz [Vana, Wana]

**Summary for the Chapter:**

> This is the first Appendices section for my fic collection. This a cheat-sheet series for my fic, The War of Winter, which I will post later once I’m finished drafting it.

**Notes for the Chapter:**

> Manwe = Mānawenūz  
> Ulmo = Ullubōz  
> Oromë = Arōmēz  
> Tulkas = Tulukhastāz  
> Aulë = Aȝūlēz  
> Mandos = Namandōstōz  
> Irmo = Glūrirmōnōlōsfantūrūz  
> Melkor = Mbelekhūrūz
> 
> Varda = (A)Barādāz  
> Yavanna = Ivōnnākementarīz  
> Nienna = Fuiheskīlēz  
> Estë = Ezidhēz  
> Vairë = Gwairilēz  
> Vána = Wannāz  
> Nessa = Dinēthīz

Wannaz [Vana, Wana]  
The Spring  
The Ever-Young  
Beautious One  
One of the Flowers   
Golden Flowers  
Loved by the Wild One  
The Meadow  
Child-Bride to Aromez*  
One of the Children  
Caretaker of the Children  
Peaceful One  
Innocent One  
Golden One

*Bride is not the same concept as it is in English. 

Wannaz is considered the youngest of the Valar and is typically shown as covered in meadow flowers and new shoots, as she is most associated with Spring. She is often associated with golden colors as well, specifically that of bright flowers. She is considered young and well-associated with children and therefore also associated heavily with the Children of Creation.

Her appearance is often that of young woman and sometimes that of a child. While she is often considered the one married to Aromez, she is not considered to be in sexual relations with him, particularly so as Aromez often seeks sexual venture elsewhere (re: as One who Mounts and One who is Mounted). Ivonnakementariz is the Vala of seeding and birth, while Wannaz is the Vala of the new shoots and flowers themselves. 

Her role as a child-bride is not a sexual one, but rather a companionship, as well as a mutual teaching-role. Aromez, as one considered older, often is seen as teaching and helping Wannaz, while Wannaz gives back and supports Aromez. They are considered as the meadow is to the deer.

Wannaz’s temples receive many orphaned children and typically are there to help supply child services and child care. While Ivonnakementariz is there for the mothers, Wannaz is there for the children. Many of the devout from other temples may take temporary residence to help teach those of Wannaz, and therefore she often has favorable relations with the other Ayanuz. All take their care when around her, for she is also the most fragile, for new life is easily snuffed.

Who the parent of Wannaz is is heavily debated, and often it is considered that she appeared and was found after Tulukhastaz. Because of this, it is considered that she was created after the fight between Fuiheskilez and Mbelekhuruz, post-creation of Tulukhastaz. She is therefore attributed as the Vala of Peace and therefore the sister of Tulukhastaz. They are the Golden Ones.

As there is no known true parent to Wannaz, all of the Ayanuz take their time to care for her. Aromez, Dinethiz, and Tulukhastaz are seen most often with Wannaz, and therefore, they form the Four--the Young Ones, just as there are the Elder Ones [Mbelekhuruz, Manawenuz, Fuiheskilez, Abaradaz, and Ulluboz].

Wannaz’s temples also serve as a function of schooling and education. These temples provide the necessary skills for the children, orphaned or not, and the priests--who may be the devout of other Ayanuz, seeking a dual-service, or the few who remain in Wannaz’s services--are the educators. Much of the system involves older children helping the younger, and this is similar to the role of Aromez to Wannaz. 

It is considered in some tales that, when Aromez takes physical form on the world in the role of the Mounted One and the One who Mounts (as one of the Children of Creation or as one of his own creations--ungulates such as horse, cattle, and deer), as such, Wannaz may too appear in physical form. These forms are typically temporary, and as this often appears in the lore of traveling peoples, this is in part a reason why one respects all those who they meet on the road. As such, this form of Wannaz is seen as one who may age (for she is in a mortal form, even though her spirit itself is immortal). She is often, at these times, syncretized with Ivonnakementariz and Ezidhez if she is pregnant or of middle ages, and if she is much older, she is syncretized with Fuiheskilez and Gwairilez. Her syncretization is a reminder that at heart, all of the Children of Creation have been under the care of Wannaz. Because of this, all Children of Creation are therefore brother, sister, and/or sibling (not in genetics nor blood, but in spirit) and should be treated accordingly.

Her syncretized forms are immensely important to keep track of, for there are many taboos associated with her, particularly if she is in the form of a child. Primarily, it is a great taboo to see her child form as sexual, however non of her syncretized forms are considered sexual, either. In many ways, she resembles Artemis [Greek]. Breaking this taboo (and general taboo of child harm) is considered one of the worst, if not the worst, of offenses, and is heavily punished.

It is not unusual for her and Aromez to have her devout considered as their children (however not made through sexual means of Aromez and Wannaz, as they are gods, and therefore able to create without sex, but rather their adoptive/chosen children). These devout are usually children themselves and are the Maidens of the Meadow and the Wild. Many are orphaned children, however some older Maidens do exist and they are often celibate. Most of her devout, however, typically find themselves eventually following other greater Ayanuz. Aromez and Dinethiz are popular choices, but any among the Ayanuz are chosen. Therefore, her temples and her devout are constantly changing.


	12. Gwairilez [Vairë, Gwir]

**Summary for the Chapter:**

> This is the first Appendices section for my fic collection. This a cheat-sheet series for my fic, The War of Winter, which I will post later once I’m finished drafting it.

**Notes for the Chapter:**

> Manwe = Mānawenūz  
> Ulmo = Ullubōz  
> Oromë = Arōmēz  
> Tulkas = Tulukhastāz  
> Aulë = Aȝūlēz  
> Mandos = Namandōstōz  
> Irmo = Glūrirmōnōlōsfantūrūz  
> Melkor = Mbelekhūrūz
> 
> Varda = (A)Barādāz  
> Yavanna = Ivōnnākementarīz  
> Nienna = Fuiheskīlēz  
> Estë = Ezidhēz  
> Vairë = Gwairilēz  
> Vána = Wannāz  
> Nessa = Dinēthīz

Gwairilez [Vairë, Gwir]  
The Weaver  
One of Webs  
The Storyteller  
She of Many Arms  
One of the Shadows  
She Who Sees Beyond  
One Who Clothes  
Wife-Sibling of Namandostoz  
Sister-Sibling of Glurirmonolosfanturuz  
Sister-Sibling of Ezidhez  
One of the Masters of Spirits  
One of Many Eyes  
One of Cloth  
The Spinning One  
Mother of Spiders

Gwairilez is one of the Masters of Spirits, and the eldest of the four. She is a sibling to Namandostoz, Glurirmonolosfanturuz, and Ezidhez. Gwairilez, like the other Masters, is pale and slight in appearance. Grey is a common color for the Masters, and Gwairilez often appears with many arms and eyes. Despite this, her eyes are considered blind to the physical realm.

She is known most as the Vala of Stories. Her weaving takes on many forms, and at times she is a trinity, syncretized with Fuiheskilez-Abaradaz and Ezidhez. Fuiheskilez-Abaradaz is said to provide the canvas, or the starting ties, and Ezidhez brings the ending knot. It is Gwairilez who provides the middle of the work.

Gwairilez is also often associated with Fate and Soothesaying. She is not the only one, for Namandostoz and Glurirmonolosfanturuz are also associated with this, and for this, the Masters of Spirits--including Ezidhez--all take their own role in soothesaying. [Ezidhez takes a special role among the Ayanuz and the Masters of Spirits, which I will discuss in her page.]

The concept of fate and soothesaying in the lands is not often a concept of pre-destination. When one reads the future, it is not “this will happen,” but rather is the concept of that which is most likely to happen. Therefore, soothesayers are most often considered as advisers. Often, soothesaying involves one reaching through the weaving of the world--that which has already been laid down--and to look out at all that which is being laid down in order to predict what will likely come next. The past itself cannot be changed, and the future is unseen and unknown, but through using the past and the nature of the present, most soothesayers are able to advise those as to what may be in the future.

Because of her association with weaving, she is often considered to have many arms. Weaving spiders are said to be her creations. This is different from Fuiheskilez, as she is most associated with hunting spiders, such as wolf spiders, and ambush spiders, such as tarantulas or trap spiders. 

Gwairilez is not often depicted as very colorful, and this is largely because it is not her that should hold most focus, but her work. Her robes often contain face-like patterns on their back, which replicates that of many weaving spiders’ patterns. This is because she is considered to see forward into the past, but also backwards into the future, which is a rare skill that only she possesses. The future is often considered behind because it is not able to be known or seen, whereas the past is considered frontwards because it is known and seen. Her robes may contain many more colors, and they were most likely created by her.

The temples of Gwairilez are often bi-fold. There are the day-activities and the night-activities. The day activities regard trade and textiles. These are the most colorful of times, and often these priests are men and non-binary individuals, however women are not taboo. They are easily marked for they all wear masks or faces on the back of their head. These masks are often colorful and mimic spider markings. For the day-activities, they often mimic peacock jumping spiders. The night-activities are that of soothesaying. Many of these priests are women and non-binary individuals, but similar to the day-activities, men are not taboo from these practices. The masks for the soothesaying priests are less colorful and typically black and white. Many are much older and and blindness is not uncommon, but not a requirement. 

It is common to have an altar to Glurirmonolosfantaruz at the temples of Gwairilez, for dreams and desires are what drive many to their futures.

To those seeking soothesayers, they often bring offerings of food in order to placate Gwairilez. This is because she works non-stop, always weaving, and therefore is often hungry. In providing food for her, she may take pity, slow her weaving if it is a bad thing, or take favor if it is a good thing. 

Unsurprisingly, it is a great taboo to kill spiders, especially weaving spiders, in her temples or in the audience of her priests, and many take residence in the corners of her temples.

Of her priests, those who travel are often men or appear as men--usually seen through their more colorful masks. If a woman priest wishes to travel, she often takes this guise. This is in replication of the spiders revered in the temples: the female spiders weave and the male spiders roam, seeking mates and food. Therefore, those priests who partake in travel and day-activities are seen as men, whether or not they truly are, and those who partake in soothesaying and night-activities are women, whether or not they truly are. This is more of a title, than a note of their true gender. If a woman wishes to be a trader and traveler of Gwairilez, she is not seen as lesser of a woman, but her mask will feature a male spider. Likewise, if a man wishes to be a soothesayer, his mask will feature a female spider. It is not too often that people switch between night and day activities often, but switches can occur. There are several reasons including sleep schedule and because both trade and soothesaying require a lot of work and study. The greatest of her priests, however, often are skilled in both, or have worked as a trader in their younger years and eventually switched to be a soothesayer.

Her priests are often called Spiders.

In the sex plays produces in the temples of Mbelekhuruz, Gwairilez is the one who often brings lovers together, but also often uses rope play and is associated with eating (re: oral). It is not uncommon for lovers to present food to Gwairilez in the sex plays as well.


	13. Namandostoz [Namo, Mandos]

**Summary for the Chapter:**

> This is the first Appendices section for my fic collection. This a cheat-sheet series for my fic, The War of Winter, which I will post later once I’m finished drafting it.

**Notes for the Chapter:**

> Manwe = Mānawenūz  
> Ulmo = Ullubōz  
> Oromë = Arōmēz  
> Tulkas = Tulukhastāz  
> Aulë = Aȝūlēz  
> Mandos = Namandōstōz  
> Irmo = Glūrirmōnōlōsfantūrūz  
> Melkor = Mbelekhūrūz
> 
> Varda = (A)Barādāz  
> Yavanna = Ivōnnākementarīz  
> Nienna = Fuiheskīlēz  
> Estë = Ezidhēz  
> Vairë = Gwairilēz  
> Vána = Wannāz  
> Nessa = Dinēthīz

Namandostoz [Namo, Mandos]  
The Judge   
Corpse-Ruler  
He who Ordains  
Master of the Houses of the Dead  
The Binding One  
The Dread Imprisoner  
Reign of Souls  
One of the Masters of Spirits  
Husband-Sibling to Gwairilez  
Brother-Sibling to Glurirmonolosfanturuz  
Brother-Sibling to Ezidhez  
Doomsman  
The Observing One  
One Who Records

Namandostoz is perhaps the most well known of the Masters of Spirits. He is the second oldest and is the husband of Gwairilez. He is one of the four Masters, sibling to Glurirmonolosfanturuz and Ezidhez. He is most associated with judgement and finality. He is also the one considered to control the Halls of the Dead. He is known to speak often with the Great Creator and is a friend to Manawenuz.

Namandostoz is often paired with Manawenuz, and together they are seen as Light and Dark. In these times, he may often be syncretized with Mbelekhuruz, for Mbelekhuruz is seen as Manawenuz’s brother. 

It is not uncommon for tales to include the Children asking for pardon from Namandostoz, and in some of these tales, he may be syncretized with Mbelekhuruz, although this is not hard set, for both have been known to be swayed easily by singing.

In many of the cultures, there are two forms of death: that of the spirit and that of the body. Death of spirit may occur without death of the body, however it is not uncommon for many of the Children to suffer death of the body when their spirit dies; this is especially true with the Elder Children--the Elves. Therefore, the Namandostoz is known as the ruler of the Spirit, whereas Mbelekhuruz is the ruler of the Body. The spirit will move on through to the Halls of the High Mountain, where all reside, but the body will remain in the Land’s possession. 

Namandostoz is not the one to “cut the life” of those living, and neither is this in the realm of Gwairilez. Namandostoz is that which will judge those who arrive to the Halls of the Dead, while Gwairilez is that which records and weaves existence itself. 

Namandostoz, among the other Masters of Spirits, are difficult to pin down, particularly without translation error. 

It can best be explained that through the Void, the Great Creator was formed, and through them, Mbelekhuruz formed quickly after. The creation of those after relied heavily on the Great Creator as much as it did on Mbelekhuruz’s efforts. 

Gwairilez, Namandostoz, and Glurirmonolosfanturuz, involved much interaction with the Void as much as it did with the Great Creator. Age of the Ayanuz is difficult to place, as they are beyond mortal form. It is often considered that Ivonnakementariz came before these three, as she is the start of life itself on the Land, and therefore the Masters of Spirits cannot exist without life. In many ways, however, they often appear timeless and older than that of Ivonnakementariz (and those younger than her), for they can often be attributed to time itself, as beings of fate as much as life/death.

Similar to the temples of Gwairilez, Namandostoz’s temples are less colorful and considered often more dour. Namandostoz’s temples often feature a garden, a smaller temple space for Ivonnakementariz, at the entrance to his temple. This is for those to celebrate life before entering his temple, where now one must celebrate death.

It is not uncommon for Namandostoz’s temples to also feature an altar to Mbelekhuruz, for together they are the Valar of Death.

Namandostoz’s priests often serve as judges and keepers of the law. It is not uncommon in some cities for his temple to serve as a temple for all the Masters. Often, these temples are known to have a well-kept garden at their front. Inside of which, many of the priests of Namandostoz will help those find their way--to the temple of Ezidhez if they are seeking their end or for healing, to the temple of Gwairilez is they seek soothesaying and advice in their life, to the temple of Glurirmonolosfanturuz to seek respite and pleasures. In some cases, his temples may stand alone, and they serve often as court rooms and holders of the laws. 

His priests are well-versed in philosophy and debate. They are those that also lead any councils, both for the community and for religious grounds.

The relationship between Gwairilez and Namandostoz is both that of siblings and that as husband-wife. They are not necessarily a sexless marriage and it is important to keep in mind that all the Ayanuz are siblings, but as gods, they are not bidden to the same genetic issues as mortals, so incest is not a native concept to their relationships. They are not inherently child-producing, as Ivonnakementariz is known to be. There is a romance between Gwairilez and Namandostoz.

There are times when Gwairilez is syncretized with Fuiheskilez and there are times when Namandostoz is syncretized with Mbelekhuruz. As such, there are times when Mbelekhuruz is considered in relationship with Gwairilez and likewise, there are times when Namandostoz is considered in relationship with Fuiheskilez. 

It is not unusual that Namandostoz is considered cruel or cold. This is typically in reaction to the harshness of the law and that impartiality that a judge is required to have. For this reason, in many ways, Namandostoz is similar to early concepts of Lucifer: the Judge of God, the one who passes on sentences to the dead, the one who gives them their punishment as due, and when they have completed their punishment, allows them to pass on to their final resting place. [This comparison and concept may come as an unusual one to some, and perhaps it is. This does not make Namandostoz considered as a villain, but rather that to many, he may be lesser favored for his inherent actions may appear cruel, cold, or unwelcoming. Not many favor the idea of meeting the consequences of their actions, and those who bring those consequences forward are not often considered as lovable individuals.]

Namandostoz is ultimately the Vala that holds to consequences and culpability.

A common item worn by his priests are collars and chains. This is to represent that even they themselves are bound to their actions and to remember the important of discipline and action. This is also to remember that there are consequences and pain related to their judgement and to not judge lightly or without care. As Namandostoz is often syncretized with Mbelekhuruz, and as none, not even the Ayanuz and the Great Creator beyond are without culpability, Namandostoz may often be shown with chains himself. It may be considered that when ordered the binding of Mbelekhuruz, he too was punished and bound.

In the sex plays of Mbelekhuruz, they may often be the watchers of the events, those who decide what actions may play out next and often with the discussion of those representing Gwairilez. They may also be those that enact the actions. Perhaps the most intriguing are the plays that involve Namandostoz and Mbelekhuruz, for they are often syncretized, and therefore may form a nexus of pain and pleasure, for both shall feel the action and reaction, for even Namandostoz is not to be beyond judgement and consequences.


End file.
